Digitized by the Internet Archive in 2014 https://archive.org/details/designsforornameOOrobi mm ¥ O M P.F.ROBINSON F.S.A. AXTTHOU 0¥ AWOB.K RUB.AX, AUCHITE CTTIB.E , ATTEMPT TO ASCEB.TA1M THE AGE OF MICKI>EHAM: CHUB.CH IN SURHEY.THE VITRUVIUS BRITANNICHS & c L O Jv; D O N . HENRV &. BOHN 4 , YORK . COVENT G^A H I » F. N ; ]»36 DESIGNS FOR ORNAMENTAL VILLAS. IN NINETY-SIX PLATES. BY P. r. ROBINSON, ARCHITECT, F.S.A. & F.G.S. VICE-PRESIDENT OF THE INSTITUTE OP BRITISH ARCHITECTS; AUTHOR OF A WORK ON RURAL ARCHITECTURE; AN ATTEMPT TO ASCERTAIN THE AGE OF MICKI.EHAM CHURCH, IN SURREY; DESIGNS FOR FARM BUILDINGS; VILLAGE ARCHITECTURE; DESIGNS FOR LODGES AND PARK ENTRANCES; AND THE VITRUVIUS BRITANNICUS. THE SCENIC VIEWS CHIEFLY BY J. D. HARDING. THIRD EDITION, GREATLY IMPROVED. LONDON : HENRY G. BOHN, 4, YORK STREET, COVENT GARDEN; J. WILLIAMS, CHARLES STREET, SOHO ; AND J. WEALE, 59, HIGH HOLBORN. MDCCCXXXVI. ADDRESS. In presenting- myself ag-ain before the public, I redeem a promise made upon concluding- my late work on Rural Architecture ; and I do so, not from any vain expectation that my production will be superior to the efforts of my predecessors, but from a conviction that every man who has devoted some time and attention to his subject, may add to the store of human knowledge, and contribute the result of his experience in aid of those who may be pursuing the same course. The habit of long- and severe application to the study of architecture from my early youth may authorize the step I have taken ; and as most of the Designs have been carried into effect, they may be of use to others in affording hints which no doubt will be improved upon. The wonderful increase of buildings, not only in the metropolis, but in almost every provincial town, the extensive plans which are now in contemplation, and the rapidity with which our watering places especially have been enlarged, are additional reasons for a proceeding which may be considered presumptuous, in reflecting- upon the many able works which have been published upon the subject of Architecture as applied to Villas, or Ornamental Residences, upon a moderate scale ; but I confess that my chief inducement, in venturing again to present the fruits of my professional practice, is a conviction that something is still wanting to reform that absence of taste and good feeling which is so manifest in most of our modern buildings, where the aid of the architect has not been sought in creating them. The mere builder cannot be supposed to possess that refinement of art which the man regularly educated, and with perhaps the advantage of having- visited other countries, should enjoy ; hence the futile attempts which every where appear, obtruding themselves upon the pictorial eye, and offending those whose judgment would lead them to expect better things. IV ADDRESS. As a book of reference in aid of those who are about to build, or as hints from which some assistance may be obtained, the present work is therefore offered to the public. The Designs are given in various styles of Archi- tecture, as far as those styles are applicable to the domestic purposes of the present age, so as to produce good, airy, and cheerful rooms. In composing these, I have avoided the Asiatic mode of building as incompatible with the arrangements necessary to a residence in this country, the open Galleries and Verandahs suiting but ill with the humid atmosphere of England. For the same reason, and with the same feelings, I have avoided giving any Design in the Egyptian manner, the great characteristic of that style being extent ; and occasions seldom occur where it can be applied with consistency. It is true that Gate Lodges have been composed in this way ; but surely such attempts are puerile when compared with the gigantic effects produced by the original works, braving the hand of time. The building erected in Piccadilly, by Mr. Bullock, for his collection of Natural History, was designed, and superintended during the execution by myself ; the Egyptian style having been adopted by him, in order to attract public observation as an Exhibition Room : the Temple of Dendera furnished me with authorities ; and Denon's large work afforded me details, which I there employed to the best of my ability. With these observations I close the present undertaking, in order to turn my attention to a work on Farm Buildings, the materials for which have long since been collected, and which has been some time advertised. P. F. ROBINSON, F.S.A. & F.G.S. BROOK STIIEET, GROSVENOR SQUARE. April, 1827. ORNAMENTAL VILLAS. PREFACE TO THE THIRD EDITION. The demand for this Work has certainly been very gratifying to my feehngs ; and it is with some surprise I am now called upon for a Preface to the Third Edition. The more solid advantages, however, arising from my publication, have appeared in the number of professional engagements which the Work has produced ; and it is my intention shortly to publish a Supplement, containing the Plans and Elevations of Houses erected from my Designs, and under my superintendence, since the Second Edition appeared. These will be accompanied by Scenic Views, so as to afford a general idea of the effect when in a complete state ; and as no expense will be spared, I shall hope to make it merit the reputation the original Work has acquired. P. F. ROBINSON, Architect, F.A.S. & F.G.S. Vice-Presidenl of the Institute of British Architects. 8K00K STRIitT, GROSVENOR September 21, 18S6. SQUARE, 1 OENAMENTAL VILLAS. LIST OF THE PLATES. DESIGN, No. I. FOR A RESIDENCE IN THE SWISS STYLE. No. 1. Principal Story. 2. Chamber Story. 3. South Elevation. No. 4, Side Elevation. 5. Scenic View. DESIGN, No. II. IN THE SWISS STYLE FOR AN ENTRANCE LODGE CONNECTED WITH A WATERMILL. 6. North Elevation. 7. South Elevation. 8. Scenic View. DESIGN, No. III. FOR A RESIDENCE IN THE GRECIAN STYLE. 9. Principal Story. 10. Bedchamber Story. 11. South Elevation. 12. Entrance Front. 13. Scenic View. 14. Interior of the Library. 15. The Hall. 16. The Saloon, viii LIST OF PLATES. DESIGN, No. IV. FOR A RESIDENCE IN THE PALLADIAN STYLE. No. 17. Principal Story. 18. Bedchamber Story. 19. South Elevation. 20. The Entrance Court. DESIGN, No. 21. Scenic View. 22. The Terrace. 23. Interior of the Hall and Staircase. 24. Interior of the Conservatory. No. V. FOR A RESIDENCE IN THE OLD ENGLISH STYLE. 25. Principal Story. 26. Chamber Story. 27. The Entrance Front. 28. Side Elevation. 29. The South Front. 30. Scenic View. 31. Ditto. 32. The Stables. DESIGN, No. VL FOR A RESIDENCE IN THE CASTELLATED STYLE. 33. Principal Floor. 37. Scenic View. 34. Chamber Floor. 38. The Gate Lodge. 35. The South Front. 39. Scenic View of the same. 36. The North Front. 40. The Bridge. DESIGN, No. VII. FOR A RESIDENCE IN THE STYLE OF THE ANCIENT MANOR HOUSE. 41. The Ground Floor. 42. The Chamber Floor. 43. The Entrance Front. 44. The East Front. 45. The South Front. 46. Scenic View. 47. Ditto. 48. The Lodge. I LIST OF PLATES. DESIGN, No. VIII. FOR A RESIDENCE IN THE MODERN ITALIAN STYLE. No. 49. Basement Story. 50. Principal Story. 51. Chamber Story. 5'2. The Entrance Front. No. 53. The Garden Front. 54. Scenic View, 55. The Gate Lodge. 56. The Bath. ^DESIGN, No. IX. FOR A RESIDENCE IN THE ANGLO-NORMAN STYLE. 57. Principal Plan. 58. Chamber Plan. 59. The Entrance Front. 60. The South Front. 61. Scenic View. 62. Ditto. 63. Interior of the Hall. 64. Interior of the Drawintr Room. DESIGN, No. X. FOR A RESIDENCE IN THE DECORATED STYLE OF HENRY THE SEVENTH S TIME. 65. Principal Plan. 66. Chamber Plan. 67. The Entrance Front. 68. The East Front. 69. Scenic View. 70. The Drawing Room. 71. The Interior Court. 72. The Stables. DESIGN, No. XI. FOR A RESIDENCE IN THE ELIZABETHAN STYLE. 73. Principal Plan. 74. Chamber Plan. 75. Entrance Front. 76. The South Front. 77. The West Front. 78. Scenic View. 79. Ditto. X LIST OF PLATES. DESIGN, No. XII. FOR A GARDEN HOUSE IN THE ELIZABETHAN STYLE, 80. Scenic View, DESIGN, No. XIII. FOR A RESIDENCE IN THE STYLE OF AN ANCIENT TIMBER BUILDING. DESIGN, No. XIV. 87. The Lodge. DESIGN, No. XV. 88. The Stables, DESIGN, No. XVI. FOR A RESIDENCE IN THE STYLE OF BUILDING IN TUSCANY. No. SI. Principal Plan. 82. Chamber Plan. 83. South Elevation No. 84. West Elevation, 85, Scenic View. 86. The Offices. 89. Principal Story. 90. Bedchamber Story. 91. The Entrance Front. 92. The South Front. 93. The East Front. 94:. Scenic View, 95. Ditto. 96. The Corridor. 1 OKNAMENTAL VILLAS. DESIGN, No. I. The style of architecture, purely Swiss, has scarcely yet been attempted in this country. It is applicable in southern aspects, particularly under hills, or cliffs, as the large projecting roofs answer all the purpose of awnings, or verandahs. The upright timbers which support these roofs may be rendered ornamental by training creeping plants around them, and the external galleries may be enclosed, and glazed, in exposed situations, where the westerly winds prevail, so as to afford additional warmth and security to the house. The buildings are chiefly erected of oak, upon rough stone foundations ; sometimes the stonework rises the whole height of the ground story ; the edges of the timbers are rudely carved, or notched, the oak being left of its natural colour, and occasionally slight enrichments are marked in red round the heads, and cills, and posts of the windows, enlivening the effect which the dark colour of the oak makes the more necessary. The roofs are covered with oak shingles ; and, in consequence of their great projection, they are in Swisserland loaded with fragments of rock, as a security from the effect which violent currents of wind would otherwise produce. This is a peculiarity which it will be necessary to imitate in this country when houses of this description are constructed, because it is a feature connected by circumstances with the style 2 of building. In places where timber can be felled, or procured at a moderate expense, this mode of construction may be adopted economically, and the effect is picturesque. The Design, No. I. explained by the plates 1, 2, 3, 4, 5, com- prehends, on the Ground or principal Story, an Entrance Porch, or Hall, 17 feet by 12 feet; Staircase, 17 feet by 12 feet; Breakfast- room, 17 feet by 12 feet; Drawing-room in two compartments, the one being 20 feet by 17 feet, the other 15 feet by 11 feet, making together a length of 30 feet; Anteroom, 15 feet by 11 feet; Library, 17 feet by 12 feet; Own-room, 16 feet by 12 feet, with a Bath-room, &c. attached; Eating-room, 25 feet by 17 feet. The Offices consist of a Servants' Hall, Butler's Pantry, Housekeeper's Room, with Store Room and China Closet; Kitchen, Scullery, and Bakehouse. The Chamber Story contains six principal Bedchambers, with four Dressing-rooms, and five Servants' Rooms, over the Offices. LIST OF THE PLATES. No. 1. Principal Story. 2. Chamber Story. 3. South Elevation. 4. Side Elevation. 5 Scenic View. 3 ORNAMENTAL VILLAS. DESIGN, No. 11. An Entrance Lodge, connected with a Watermill ; the Lodge contains a Kitchen, Parlour, and Lean-to, with two Bed-rooms over. The whole is built of timber upon a rough stone foundation. Designed for J. H. Vivian, Esq. M. P., Singleton, Swansea. LIST OF THE PLATES. Plate 6. North Elevation. 7. South Elevation. 8. Scenic View. 4 OKNAMENTAL VILLAS. DESIGN, No. III. In applying Grecian Architecture to the purposes of a modern villa, some observations may be necessary. The fortunate acquisition of the Elgin marbles brought about an epoch of singular importance in the History of Architecture in this country ; and the opportunity thus afforded to our artists, by the liberality of the legislature, of studying the form and proportions of these wondrous productions of ancient art, together with the advantage, which many have enjoyed, of visiting the superb temple from whence they were taken, naturally introduced a feeling for the Grecian style, and a desire to adopt it generally in this kingdom : to a certain extent this was productive of much good, and many pure and beautiful examples have arisen in various parts of the country, admirable in themselves, and genuine specimens of their prototypes. So far all was well ; but as intemperate zeal generally oversteps the bounds dictated by prudence, and as fashion in its unbounded sway seldom is consistent, so these graceful forms, applicable only to structures of a dignified nature, and of a distinguished class, have injudiciously been adapted, without consideration or reserve, to dwellings of the meanest description, and the magnificence of the Parthenon has served as a model for a shop front. Consistency is a virtue of no trifling value, and in architecture especially of infinite con- sideration. As it is well known that temples are the only existing 4 buildings in Greece, and these but few in number, little more can be done by the artists of the present day, than to apply porticos where favourable opportunities occur to introduce them ; yet such an application is scarcely tolerable except to houses of the first class, or to halls of justice, and public buildings of a similar desti- nation. The severity of Grecian rules, determining the relative proportion of the intercolumniations with the diameter, that pro- portion being as 1,155 to 1,* producing masses of shadow, is in our northern climate ill suited to our ideas of comfort. The cold halls and open colonnades which are delightful in Southern Europe, produce very contrary effects when erected in this country. A recent author upon this subject judiciously observes, that "the general forms and combinations in the styles of architecture are the result of endeavours to suit the climate in which they are planted, and to obviate the inconveniences against which in each country it is more peculiarly necessary to provide. It would indeed be absurd to suppose that those general forms from which the different styles were generated could, with equal convenience to their inhabitants, be the same in hot, cold, moist, dry, and temperate climates. "f As we have no example remaining of Grecian private dwellings, and as the forms of temples are inapplicable to such purposes, it is not wonderful that inconsistencies constantly occur in attempting such an application. The window from the temple of Minerva Polias is the only one for which we have any authority, and this has been copied, and servilely adhered to, until the eye is satiated by the repetition. Indeed the constant introduction * Gwilt's Edit, of Chambers — Preface, p. 30. f Ibid. p. 31. 5 of the same features, and a close adherence to the same authorities, have produced a tameness in design, which seems to justify the severe animadversions cast against the professors of the present day in a late report,* and to prove that the science of architecture has really retrograded, while the sister arts have been making rapid advances towards perfection. To the servile copyists this censure may be attributable, but it is presumed that the art never stood higher, or was better understood, than at the present moment by those who support the credit of the English school. In composing the Design No. III. the objections alluded to have been considered. By adopting the proportions taken from the Temple of Erectheus, light and air are obtained, and the apartments rendered as cheerful as the application of the Greek character will admit. The lanthorn light to the staircase is from the choragic monument of Lysicrates, and the windows, with some variations, are from the temple of Minerva Polias. The building is erected for Thomas Daniell, Esq., Treligoick, near Truro, in Cornwall. The principal story consists of a Hall, containing a billiard table, and lighted from the top, 30 feet by 22 feet, opening to a Staircase also lighted from the top, 28 feet by 17 feet ; a Library, 30 feet by 22 feet, communicating with a Gentleman's Room, 23 feet by 16 feet; a Dressing Room and Bath, with a principal Bed-Chamber, 26 feet by 18 feet, and Dressing Room attached ; the Drawing Room is 30 feet by 20 feet, opening to a Saloon, 48 feet 6 inches by 18 feet, and an Eating Room, 30 feet by 20 feet, the principal apartments being 15 feet See Report upon the Courts at Westminster. 6 in height. The Bedchamber Story consists of ten rooms, of which five are dressing rooms. Three internal views of the principal apartments are given in this number, in order to shew the style in which they are fitted up. The Offices are numerous. LIST OF THE PLATES. No. 9. Principal Story. 10. Bedchamber Story. 11. South Elevation. 12. Entrance Front. 13. Scenic View. 14. Interior of the Library. 15. The Hall. 16. The Saloon. 7 ORNAMENTAL VILLAS. DESIGN, No. IV. Palladian Architecture admits of great magnificence, and is productive of effects peculiarly striking and pictorial. The beautiful Claude in the National Gallery, entitled the Italian Seaport, admirably combines the painter's skill with architectural display, and the eye is gratified by a combination of forms at once pleasing and elegant. The fine flight of steps ascending to a terrace, forms an approach of much grandeur, and we wish for similar features, although upon a smaller scale, as applicable to our modern villas. The Duke of Devonshire's Casino at Chiswick, erected by the Earl of Burlington, and said to have been built after Palladio's Villa near Vicenza, called the Villa Capra, or Rotunda, is an elegant specimen of this style. The air of comfort combined with magnificence, which the principal apartments afford ; the opportunity of retiring either for conversation or reflection, inde- pendent of the party assembled in the same room, and the equal degree of heat conveyed into every recess ; all these are advantages few modern buildings possess. In walking through these splendid rooms, enriched by the works of the most celebrated masters in painting, we enjoy a source of satisfaction seldom to be surpassed, and all the arrangement of an Italian palace is present to the imagination. The gorgeous ceilings, richly carved and gilt, and still further adorned by highly finished paintings, remind the 8 traveller of Genoese magnificence, while the scenery from every window assures him that he is still in his own valued England. It may be objected that the Design, No. IV. is upon too grand a scale to be classed with villas, and that it should rather be called a mansion ; but if the plan be studied, it will appear that the house, properly so called, is by no means large, and that the effect is produced by corridors and galleries of one story only, causing a spread of plan peculiar to Palladian Architecture. The Hall, 36 feet by 24, and two stories in height, communicates with a staircase, the central flight of steps presenting itself beyond a screen of columns. A Corridor, 10 feet wide, affords access to the Saloon, 60 feet by 24, and 18 feet in height, formed into three compartments by screens of columns, answering the purpose of Drawing Room, Library, and Music Room, being fitted up with dwarf book-cases. It is lighted by seven windows to the south, and opens upon a terrace 30 feet in width. The Saloon communicates towards the west with a Conservatory, 68 feet by 16 ; at the extremity of which is a Bilhard Room, 25 feet by 18, having a circular end to form a raised seat for spectators. This room is lighted from the top, and from the south. At the east end of the Saloon, a Berceau Walk, 68 feet by 16, open in front, and at top, with plants trained over the roof, in the manner of the Italian vine walks, conducts to an Aviary. The combination of effects acquired by the foregoing arrange- ment, would be pleasing. The Saloon being fitted up with dwarf book-cases, and enriched with cabinet pictures, furnished with musical instruments, and commanding a fine and extensive view fi'om its southern front, would become an apartment of considerable 9 interest, connected at the same time with a Conservatory filled with rare and odoriferous plants, and (at a sufficient distance) with a capacious Aviary at one extremity, and with a Billiard Room at the other : such a room would have its value in the eyes of those who are accustomed to enjoy, and know how to value the elegancies of life. In the circular end of the Conservatory an organ may be secreted, having the fingerboard in the Saloon. Adjoining to the Hall, and connected with the Saloon, is a Break- fast Room, lighted from the east ; and on the north side of the Hall an Ante-room, or Waiting Room for strangers, communicates with the Picture Gallery, 68 feet by 16. The Eating Room, 60 feet by 24, in three compartments, opens into this gallery at the east end, and at the west into the Gallery for Statues 68 feet by 16 ; beyond which a Private Entrance or Hall, 25 feet by 18, conducts to the Pleasure Ground, and walk to the Stables. Connected with this entrance, and detached from the principal apartments, the Gentle- man's own Room, with his Bedchamber, Bath, and Justice Room, are placed, to which his servant has ready access, the Offices being connected with the house on the west side. A Corridor, 10 feet in width, affords access to the Billiard Room from the private entrance on the north side. Should a Library upon an extensive scale be required, the Picture Gallery might be fitted up with dwarf book-cases ; the room at the extremity, 28 feet by 15, being a private apartment, or Study. It will be observed, that the Eating Room, Picture Gallery, and Gallery for Statues, are lighted from the north ; the Saloon, Con- servatory, and Berceau Walk, from the south. 10 The Bedchamber Story contains ten best chambers, and seven dressing rooms. The double Terrace in the south front adds considerably to the effect of the design. It is decorated with ornamental trees in tubs, placed on pedestals, and the upper terrace with antique vases filled with pendulous plants. The flights of steps contribute greatly to the composition.* A similar design might be created upon a reduced scale. The Plate, No. 17. Explains the Principal Floor. 18. The Chamber Story. 19. The South Elevation. 20. The Entrance Court. 21. The Scenic View. 22. The Terrace. 23. Hall and Staircase. 24. Interior of the Conservatory. The Conservatory was erected for the Earl of Essex, Cashiobury, Herts. * The Terrace at Cliefden is a fine example. It extends iSS feet in length, and is 24 feet high. I 11 ORNAMENTAL VILLAS. DESIGN, No. V. The old English style of building is peculiarly picturesque. The high pointed gable, the mullioned window and wreathed chimney, harmonize most agreeably in scenic situations, and produce effects of high interest to the painter. The modern spirit of improvement has been seriously destructive to our ancient buildings, and it is now difficult to find a structure in its original state, uninjured by the hand of innovation. Perhaps the style may be considered as belonging especially to this country. The Abbot's house always partook of that character which is so estimable in our Cathedral Architecture, and some remains are still to be found at Melross, Fountains, Tintern, and Glastonbury. A considerable degree of good feeling has been of late years displayed in an anxiety to restore buildings of this class, and attempts have even appeared to create dwellings bearing the stamp or mark of antiquity, preserving at the same time all the comforts of modern refinement. The various breaks and projections consistent with this style, are favourable to such an object, as each bay window constitutes a recess, where a writing table may be placed, and other furniture introduced, so as to create an air of comfort not always to be obtained in a modern room. Perhaps the effect of the scenery IS also improved by the interruption of the mullion, and the sober light consequently introduced into the apartment. 12 The elegant remains of ancient architecture which still exist in this country, but which are daily suffering by neglect, or the hand of ignorance, surely claim some attention. In Holler's work ' on German Cathedrals some observations may be quoted expressive of much feeling on this subject. He says (p. 56), " The neglect of the architectural works of Germany has lately however been succeeded by a more correct estimation of their merits, which are daily more appreciated. Since such eminent men as Gothe, Herder, and George Forster, have so loudly proclaimed the veneration in which they hold those masterpieces, the attention of the public has at least been awakened. By their publications of ancient architectural works, and their historical researches, Messrs. Boisseree, Biisching, Costenoble, Fiorillo, Frick, Hundesha- gen, Quaglio, Stieglitz, and many others, have already acquired just claims to the gratitude of an enlightened public, and we may confidently look for more important publications at their hands. But as the number of ancient buildings, which either have remained unknown, or are only imperfectly known, is so very considerable, and as many of them are perishing from year to year, it is very much to be wished that the governments of the several German states would publish historical and critical catalogues of the various ancient buildings in their respective dominions, in which the bad should be carefully separated from whatever is worthy of being preserved. Independently of affording correct information of the buildings still existing, these works would thus be placed under the safeguard of the public eye, and the fear of public disgrace would put a stop to the Vandalism of ignorant subordinate magistrates, who, in many places, do not scruple to consider and use such ancient buildings as excellent stone quarries." 13 Although much has been done in this country by pubhc-spirited individuals, and by the lovers of ancient art, to preserve the monuments still in existence, yet many instances of modern Vandal- ism might be quoted, and every day adds to the injury created by time or folly. In the work alluded to the author follows up his observations by announcing a proclamation published by the Grand Duke of Hesse Darmstadt in 1818, the object of which was " to preserve the antiquities extant in the Grand Duchy, and to make them more generally known." This proclamation he gives at length, and every antiquarian will pray for a similar order of government in this country. The elegant works of our countryman Britton have produced a feeling for our national antiquities which must tend greatly to their preservation, and every praise is due to him for his unremitting zeal in the cause, which is tempting others to follow his example. The great interest which the subject has created must be an apology for the length of the foregoing observations. The building explained by the Plates 25, 26, 27, 28, 29, 30, 31, is now nearly completed. It is erected in a very scenic spot called the " Querns" near Cirencester, anciently a Roman station, where the land is curiously tossed about, and the surface varied and enriched by timber trees of considerable growth. The old English style has been chosen as adapted to the situation. The Ground plan compre- hends a Porch seven feet square, communicating with a Hall 24 feet by 17, in which a Billiard-table is to be placed. Opposite the en- trance is the door to the Drawing Room and Library, forming one apartment, 36 feet by 17, independent of two large bays, the one being 17 feet by 6, the other 9 feet by 5 ; this room being fitted up as a Drawing Room, Library, and Music Room, having only one 14 door and two chimneys. The Eating Room measures 23 feet and 6 inches by 17, independent of the bay. The Staircase is 17 feet long by 12. The chamber Story comprehends five Bed-rooms, with two Dressing Rooms, and two Nurseries. The offices contain a Kitchen, Scullery and Brewhouse, Pantry and Larder, Store-room and Butler's Pantry. The Plate 32 exhibits a view of the Stabling, in which the character of the house is preserved. The building was erected for Charles Laurence, Esq. LIST OF THE PLATES. No. 25. Principal Story. 26. Chamber Story. 27. The Entrance Front. 28. Side Elevation. 29. The South Front. 30. Scenic View. 31. Ditto. 32. The Stables. I 15 ORNAMENTAL VILLAS. DESIGN, No. VI. The Castellated Design, the subject of the Fifth Number, is about to be erected in Yorkshire. The situation has been greatly and deservedly admired, of which the plate. No. 37, affords some idea, and the style has been adopted from a feeling that the Castellated character is applicable to the spot. At the foot of an ornamental valley, enriched by valuable and full grown timber trees decorating the hills beyond to a considerable extent, the house will be well protected from the north, while the large tracts of moorland and mountain, rarely visited by the foot of the stranger, and still in their primitive state of wild magnificence, render the spot quite appro- priate for a building of this description. Indeed features of this class insensibly lead the mind back to the days of our feudal system, and in wandering among the neighbouring hills we almost expect to see the ancient Baron, surrounded by his followers, ascending the valley, or to hear the bugle announce the arrival of some new comer at the Warder's gate. It may be observed that a design of this description can hardly rank with villas, and that it is consequently out of place in a work professing to give buildings " upon a moderate scale ;" but as the author originally proposed to produce each number in a different 16 style of Architecture, the Castellated character cannot properly be omitted. It is true that dwellings upon a very diminutive plan may sometimes be seen having features of this description, but such an application is evidently inconsistent, and we might with equal reason assume the Egyptian character for a park lodge. Upon reference to the plan, it will be found that the rooms are not larger or more numerous than is usually required. The principal story compre- hends an Entrance Hall, 25 feet by 20, opening to the principal Staircase, 26 feet by 23 ; an Eating Room, 30 feet by 20 ; Drawing Room, 31 feet 6 inches, by 19 feet 6 inches ; Library, 31 feet 6 inches, by 19 feet 6 inches ; Gentleman's Room, 20 feet by 15 ; Bedchamber, 20 feet square, and Dressing Room adjoining. The Bedchamber Story comprehends six principal rooms, with six Dressing Rooms. The Offices are arranged in detached buildings connected with the house by enclosed passages, having the appear- ance of Arcades in the south front, excepting the Butler's Pantry and Plate Room, the Housekeeper's Room, Store Rooms, &c. which are in a Basement Story, the windows of which appear in the elevation for the north front, Plate No. 36. The building was designed, and partly executed for Lord Muncaster, at Warter, near Pocklington. The Terrace elevates the building, and produces an air of importance well suited to Castellated Architecture. The Plates Nos. 38 and 39, explain the design for the proposed Lodge. This Lodge, with a trifling variation, has already been erected at the entrance to Norbury Park in Surrey, for Fuller Maitland, Esq., the late proprietor having proposed to give the 17 house the same character, for which various designs were given by the author. The property having since been sold, the plan is abandoned, and the Lodge stands alone an inconsistent feature as an approach to a modern dwelling. The Plate No. 40, exhibits a design for a Bridge. LIST OF THE PLATES. No. 33. Plan of the principal Story. 34. Plan of the Chamber Story. 35. Elevation for the South Front. 36. Elevation for the North Front. 37. Scenic View. 38. Geometrical Elevation of the Lodge. 39. Perspective View of the same. 40. Design for the Bridge. « 19 ORNAMENTAL VILLAS. DESIGN, No. VIL " The difference in expense between good and bad forms is comparatively trifling ; the difference in their appearance immense." Price, vol. ii. p. 217- The peculiar style of building distinguished by Price in his much- admired essay, as picturesque, has of late years been often attempted, and various dwellings have been erected with more or less success, in order to gratify the prevailing taste. The elegant Shenstone perhaps first understood and valued the simplicity of Cottage Architecture, since which period a desire has been mani- fested to create residences of this description. Many ancient buildings of this class were to be found some thirty years since in various parts of the country ; but time, and the hand of the " improver," has nearly deprived the lover of ancient domestic architecture, and the landscape painter, of their most valued features. The mullioned window, and high pointed gable, have given place to the " clamp of brick ; for it is melancholy to reflect how many houses in this kingdom are built upon that model ; the chief difference, and that which makes them a degree less ugly, is the sharpness of their angles."* * Price on the Picturesque, vol. i. p. 216. 20 The master masons," whose works are so deservedly admired in our cathedrals, copied in their own dwellings the beautiful forms they were constantly employed in producing ; and it is fair to argue that a love for features of this kind would be created, and figures assumed, even in buildings of the humblest description, at a time when the style of architecture so universally but improperly called Gothic prevailed throughout the land. Thence the buttressed door, the labelled window, and turreted chimney, which have now given place to the square brick house, tame in its outline, and disgusting to every scenic eye. A passion for dwelling in cottages has how- ever been app arent, and perhaps a reaction may be expected of some importance to the lovers of picturesque scenery, provided a little good taste be exercised in determining upon the form of future dwellings. The author quoted above observes that " the most painter-like effects may be produced even by a mixture of the simplest things, when properly placed and combined with others. In the pictures of many of the great Italian masters, mere sheds, with little alteration or disguise, are introduced among buildings of no mean character."* Forms may assuredly be created of the humblest materials and at little expense, pleasing to the scientific eye, provided some good model be always kept in view. Cottage Architecture, properly so called, should be simple in its form, limited in its extent, and plain in its component parts ; and it may be observed that a building of this description should never comprehend more than three or four rooms on one story. Beyond this it assumes more the character of the ancient Manor House ; and the accompanying design, to which * Price, vol. ii. p. 218. ) 21 these observations apply, is of this latter plan. The attempt to combine all the elegancies of modern life with the simplicity of the cottage, is vain, and many have made the discovery too late to remedy it. The annexed plates will convey some idea of a building now erecting in the Holmwood, near Dorking, in Surrey. When the author's attention was first directed to the spot, he found a modernized farm-house, two stories in height, having a central door, and window on either side, crude in its form, and injurious to every scenic effect. The rooms however were good, and the whole too valuable to destroy. He therefore conceived the idea of concealing the building by erecting a new one in front of it, leaving a space, or interior court, which the ground plan exhibits. This space separates the servants' apartments from the principal rooms, and serves as a check to all noise. The Ground Floor consists of a Porch, 7 feet 6 inches square, and Hall two stories in height, 14 feet 6 inches, by 13 feet 3 inches. From this Hall the prin- cipal apartments are approached by a Corridor, or Cloister, 25 feet in length, by 10 feet in breadth, in which plants will be arranged, the recess in the centre forming a seat. At the extremity of this cloister, a door opens into the Drawing Room, lighted from the south and west, 26 feet 6 inches in length, by 18 feet in breadth, and 12 feet in height, with two deeply embayed windows ; and as the recess in the Hall is intended to receive an organ, it is presumed that the instrument will be heard to good effect in the Drawing Room, particularly as all the ceilings are to be boarded, and divided into pannels by moulded ribs, with carved bosses at the intersection of each. The ceilings will be painted ^ in imitation of oak, and the rooms finished in a correspondent 22 taste. The Drawing Room is divided from the Eating Room by a small Library or Book Room, 18 feet 6 inches long, by 12 feet wide, lighted by glass doors to the south, opening to the Lawn. The Eating Room measm-es 24 feet in length by 16 feet in breadth, and is 11 feet high. It is lighted from the east and from the south by two large bay windows. The Gentleman's Room, Store Room, &c. form the east side of the internal Court. The principal Staircase, 12 feet square, is lighted by a painted window from this Court. The Servants' Hall and Kitchen are shown upon the plan ; the old building being fitted up as offices. The Chamber Story comprehends six Bed Rooms, with two Dressing Rooms, independent of Servants' Rooms. The scenery is particularly good, the chain of hills, extending from Dorking to Reigate, bounding the prospect. The building was erected for Miss Arnold. LIST OF THE PLATES. No. 41. Ground Floor. 42. Chamber Floor. 43. Entrance Front. 44. East Front. 45. South Front. 46. Scenic View. 47. Ditto. 48. The Lodge. 23 OENAMENTAL VILLAS. DESIGN, No. VIIL The subject of the Seventh Number is a Design in the modern ItaHan style, the principal story of which is explained by the Plate No. 50. It is about to be erected in Ireland, and com- prehends an Entrance Hall and Staircase, 22 feet by 16 feet ; approached by an external flight of steps, the height of the Basement, and a Loggia 36 feet by 16 feet. Passing through the Hall, a door opens centrally into a Picture Gallery to be occasionally used as a Billiard Room, 36 feet by 18 feet, and 15 feet high. This room will be heated by two fires, and will communicate to the East with the Eating Room, 30 feet by 20 feet ; and to the West with the Drawing Room, of the same dimensions. A Library, 20 feet square, forms an inner apartment connected by folding doors with the Drawing Room, and these may occasionally be thrown together. The Gentleman's Room, 20 feet square, is lighted from the North and East, and is connected with the Servants' Staircase. The lower story, or Basement, comprehends two best Bed- chambers, a Dressing Room, and Bath Room, with a private entrance to be used in bad weather, when the external flight of steps would be inconvenient. The Housekeeper's Room and Store Room, Servants' Hall and Butler's Pantry, are shown on this 24 plan, with Cellars under the Loggia. The Kitchen will be a detached building, and will communicate with the House, by a sunk passage arched over and lighted by skylights, concealed in beds of flowers. The Chamber Story consists of nine rooms, two of which may be used as Dressing Rooms. Buildings in this style of architecture have of late years been erected as Villas in various parts of the kingdom, each a servile copy of its neighbour, and it is difficult to create new features, and produce variety in a worn out subject. In composing the present design, the buildings in Genoa have not been forgotten, and upon a larger scale considerable effect might be produced by ornamental terraces, decorated with stone balustrades and vases, features of great importance in that city of palaces. The three celebrated winding streets can never be forgotten by those who have visited " Genoa la Superba." LIST OF THE PLATES. No. 49. Plan for the Basement Story. 50. Plan for the Principal Story. 51. Plan for the Bedchamber Story. 52. North Elevation. 53. South Elevation. 54. Scenic View. 55. Design for the Lodge. 56. The Bath. m a 25 ORNAMENTAL VILLAS. DESIGN, No. IX. The style of Architecture, hitherto attributed to the Saxons, is now with greater reason considered to be of Norman origin. The former, a rude race, emerging from their wilds, knew little of civihzed life, " tillage itself being almost neglected, and military expeditions being their chief occupation." " They seem indeed to have been anxious to prevent any improvements even in tillage ; and the leaders, by annually distributing anew all the land among the inhabitants of each village, prevented them from attaching themselves to particular possessions, or making any such progress hi Agriculture as might divert their attention from military expeditions." " The Britons under the Roman dominion built twenty-eight considerable cities within their province, besides villages and country seats ; but the fierce conquerors (the Saxons) threw every thing into its pristine barbarity. Their superstition was of the grossest description ; Woden was regarded as the God of War ; they were idolators, worshipped the sun and moon, adored the God of Thunder under the name of Thor, and believed in spells and enchantments." " The priests in the heptarchy, after the first missionaries, were wholly Saxon, and almost as ignorant and barbarous as the laity. They contributed little therefore to the improvement of society in knowledge or the arts." " When Alfred ascended the throne, a.d. 871, he found the English sunk into the grossest ignorance and barbarism : the monasteries had been destroyed by the Danes, the monks butchered 26 or dispersed, their libraries burnt, and thus the only seats of erudition totally subverted. This prince, however, invited over the most celebrated scholars from all parts of Europe ; he established schools every w^here for the instruction of his people ; he founded, or at least repaired the university of Oxford, and endowed it with many privileges. He set apart a seventh of his own revenue for maintaining a number of workmen, whom he constantly employed in rebuilding his ruined cities, castles, palaces, and monasteries." The foregoing extracts from Hume will serve to shew the state of England under the Saxon dominion, and it will be sufficient to prove that a people thus sunk in ignorance and barbarism could hardly be the authors of the structures hitherto attributed to them. We learn, however, that so early as the year 597, Augustine, a Roman monk, arrived in Britain to preach the gospel, and was created Archbishop of Canterbury, and this probably laid the foundation for the improvement of Architecture in England. The connexion with Normandy advanced the interests of the art, and the Conquest at length produced from abroad the rudiments of science, and corrected the rude and licentious manners of the people. Our Cathedrals and many of our early Churches exhibit beautiful specimens of the style of Architecture in question. The Monastery of St. Cross, near Winchester, is a perfect example. Durham Cathedral and part of St. Alban's Abbey, Waltham Abbey Church ; the Nave of the ancient Monastery of St. Frydiswide, now called Oxford Cathedral ; the old Conventual Church of Ely ; the Churches of Stewkely, in Bedfordshire, Barfreston, in Kent, and Iffley, near Oxford, are all purely of the same period. In Normandy the examples are numerous ; and since Cotman produced his interesting work, a valuable addition has been made to our architectural libraries. The French have at length been roused to some exertion, and they have published their " Voyages 27 pittoresques et romantiques dans I'ancienne France." Pugin is engaged in giving his " Engraved Specimens of the Architectural Antiquities of Normandy," thus completing a series of volumes beautiful in point of execution, and pleasing to all the lovers of art. In England the only example now remaining of a dwelling in this style is in Norfolk. It is a small Farm House, and among the multiplicity of modern designs this peculiar character, as applicable to domestic Architecture, has not been attempted. Perhaps some prejudice may be in existence in opposition to its introduction, and many may consider that the forms of its apertures are inapplicable to our habits. The accompanying plates will serve to shew what success might be expected in attempting to introduce what may now be considered a novelty. The Plan, No. 57, will explain the arrangement of the principal Story ; it consists of an Entrance Hall, and Billiard Room, 22 feet and 6 inches by 18 feet, two stories in height, communicating with a principal Staircase, 20 feet by 18 feet ; a Corridor, 6 feet in width, affords access to a Morning Room, 20 feet by 13 feet 6 inches ; a Dining Room, 24 feet by 16 feet ; and a Drawing Room, 37 feet by 24 feet ; the two former being lighted from the east, the latter from the south ; a Gentleman's Room and Dressing Room complete the principal apartments, the whole of which are 12 feet high. The Offices consist of a Butler's Pantry, Servants' Hall, Housekeeper's Room, Kitchen, &c. The Chamber Story (No. 58) contains five principal Bedchambers, and six smaller rooms ; the upper part of the Tower affords three rooms for servants, and others are provided in a detached building. The Elevations (Nos. 59 and 60,) aided by the Scenic Views (Nos. 61 and 62,) will shew the variety of form and picturesque accompaniments of which this style is capable ; it has been hitherto perhaps too much neglected, and considered as heavy and ugly. Those who have devoted some time and attention to the subject 28 will not hastily adopt these epithets, and as applied to Churches, it cannot be too much studied or practised.* The Plate (No. 63) explains the design for the Hall, and (No. 64) the interior of the Drawing Room. The building was erected near Liphook, in Hampshire, for the late Sir James Macdonald, Bart., the old English style having been substituted for the Norman. The principal authorities in composing the Design are selected from the following edifices : The Monastery of St. Cross. Iffley Church, near Oxford. St. Peter s Church, Northampton. St. Augustine's, Canterbury. Castle Rising Church, Norfolk, Lincoln Cathedral. Stewkely Church, Beds. St. Joseph's Chapel, Glastonbury. Croyland Abbey, Lincolnshire. Barfreston Church, Kent. Priory Church, Christ Church. St. George's de Bocherville. Church of Graville. The Holy Trinity at Caen. The Fontaine le Henri near Caen. . Normandy. The Plate, No. 57, explains the Principal Floor. 58. The Chamber Story. 59. The Entrance Front. 60. The South Elevation. 6L 62. Scenic Views. 63. Interior of the Hall. 64. The Drawing Room. * The Author has recently restored the ancient Church of Mickleham in Surrey, and lias since erected a new one at Leamington Priors near Warwick, both in this style. B E B I ii 'N N ? 9 Til IK H A L L 29 OENAMENTAL VILLAS. DESIGN, No. X. UvEDALE Price, in his excellent Essay on the Picturesque, argues with much truth and feeling, that union of character cannot be expected to prevail, until the principles of painting are applied to whatever in any way concerns the embellishment of our houses ; and that the Architect should combine a general knowledge of his own profession with that of the landscape gardener, and become the " Architetto-pittore,'' in order to render his work perfect as a whole, the building being in harmony with the situation and planting around it. It is certainly necessary that a man should conceive, in his mind's eye, the whole effect of the picture he is about to produce, even before the foundation be laid, and that the house, the form of the ground closely connected with it, and every article of furniture, as far as regards its situation, should be well and sufficiently considered, prior to the commencement of the work, without which success cannot be contemplated. It is evident all this must be the operation of one mind ; and although the aid of the landscape gardener and of the upholsterer may be afterwards called in, the great outline of the undertaking should be the work of the Architect. In commencing such a work, embracing so many circumstances, and so much detail, intimately connected as it must be with the future comfort of the proprietor, much time and attention should be devoted to the subject. The plan being well considered, with a reference to other houses similar, in some degree, 30 as to shape and magnitude, a model should be formed upon a good scale, in order to convey a clear and perfect idea of the object in contemplation. Good scenic drawings should then be made from various points of view, embracing the general features of the country, from which some judgment may be formed as to the effects which may be produced by ornamental planting, and a very perfect conception as to the result imagined by those in any degree accus- tomed to trials of this nature. It too frequently happens that little regard is paid to these preliminary objects, a failure in some degree is consequently the result ; much expense is incurred in moving earth so as to force poor Nature to harmonize with the house, and the upholsterer is driven to much difficulty in adapting his ideas to the taste and judgment of his predecessor. The foregoing remarks have arisen from a conviction that little regard is paid in the present day to the peculiar character each building should assume, as adapted to its situation. The Design No, X. is about to be erected in Yorkshire, on a spot where the surface is much undulated, and greatly enriched by full grown timber trees, the distant scenery being extensive and varied. The highly decorated brick mansions of Henry the Vllth and Vlllth's time have been chosen as the style of building, the centre of the Elevation No. 67 being composed from East Bash am House, in Norfolk, the windows and chimneys from Hampton Court Palace, Middlesex, drawn from Pugin's Details. The centre of the Eleva- tion No. 68 is taken from Bishop Longland's Chapel, in Lincoln Minster, the date of which is 1547 ; it is enriched with a perforated battlement and pinnacles, giving it the appearance of the chapel to the mansion. The Plan No. 65 will explain the extent of the building. A Porch, 8 feet square, on the Northern side, opens to the Hall, 31 24 feet by 18, from which a Corridor, 10 feet wide, extends to the Garden entrance, in the South front. From this Corridor good access is obtained to the Breakfast Room, 23 feet by 19, and to the octangular Library, 30 feet by 27, the principal Staircase, 27 feet by 22, being on the right hand side, and having a double flight of steps ; opposite the door of the Library, and crossing the Corridor, the Drawing Room, 30 feet by 20, is approached, communicating with a Conservatory, 50 feet by 20, the three last named apartments having a Southern aspect. The Eating Room, 30 feet by 20, is lighted from the North, the passage from the offices communicating with it. The Gentleman's own Room and Dressing Room are lighted from the East, having access from the Hall. The interior Court is enriched with a bay window, and buttressed walls, having a fountain in the centre. The Chamber Story consists of nine Rooms, with five Dressing Rooms, the Servants' Apartments being over the Offices. The principal Story is 14 feet in height, the Chamber Story being 12 feet. LIST OF TUE PLATES. No. 65. Plan of the principal Story. 66. Plan of the Chamber Story. 67. Elevation of the South Front. 68. Elevation of the East Front. 69. Scenic View. 70. Interior of the Drawing Room. 7L View of the Interior Court. 72. The Stable CJourt. This building was designed for Lord Muncaster. 33 ORNAMENTAL VILLAS. DESIGN, No. XI. The age of Elizabeth produced a new era in Architecture, of which we have still many examples in this country, the deeply embayed windows, and galleries of great length, being the chief characteristics. With the reign of Henry the Vlllth, however, the purity and elegance of Gothic Architecture (as it is still called) ceased, Hans Holbein having introduced an imitation of the Italian, creating a jumble of the most heterogeneous forms. Longford Castle, in Wiltshire, is a remarkable instance of this debased style, the front being decorated with caryatides, rustic pilasters, and balustrades. It was erected by Sir Thomas Georges, in 1591, his lady the Marchioness Dowager of Northampton being one of the maids of honour to Queen Elizabeth. Oxnead Hall, in Norfolk, is a purer example ; but the celebrated Tower of the schools at Oxford, erected in 1613, affords a most extraordinary instance of the extreme absurdity to which this style had then been carried, the imperfect forms of Italian architecture being mixed up with turrets, pinnacles, and battlements. Longleat, Wollaton Hall, and Audley- End, are all in the same impure style ; and the front of Charlton House, in Wiltshire, is said to have been designed by Inigo Jones before he had studied the works of Palladio. This pedantic affectation of Italian taste became the fashion of the day, the stream was irresistible, and many of our cathedrals and churches were debased by altar screens of impure design. Even the 34 venerable cathedral of St. Paul was disfigured by a portico of Corinthian columns added to its western entrance, by Inigo Jones ; and Sir Christopher Wren, in his Parentalia, censured the works of the preceding age as Gothic and barbarous. His towers at Westminster Abbey, and the Church of St. Mary at Warwick, prove how little he understood the style he condemned, although in other branches of his art his judgment was unquestionable. The great attention paid to our Cathedrals during the last thirty years, and the care and good taste with which they have been restored, proves how considerable a change has been effected in public opinion. Yet we still see the corruptions of James the First's time occasionally introduced, and twisted columns and caryatides usurp the place of purer features. The building described in the accompanying plates is about to be erected in Gloucestershire, with the exception of the grotesque tower in Plate 75, introduced merely to elucidate the foregoing observations. The authorities for the composition are taken from the following places : Longford Castle, Wiltshire. Longleat, Wiltshire. Wollaton Hall, Nottinghamshire. Browsholme Hall, Yorkshire. New House, near Coventry. Oxnead Hall, Norfolk. Old House at Islington. Audley-End, Essex. The Ground Plan will comprehend an Entrance Hall and Staircase, a Saloon, or Library-Drawing Room, in three compart- 35 ments, 60 feet by 24, exclusive of the bay windows. An octangular Dining Room, 28 feet in diameter ; a Boudoir, or Lady's Morning Room, opening to the Flower Garden, 20 feet square, with a Gentleman's Room, Dressing Room, and Bath. A Corridor, or Gallery, 10 feet in width, affords good access to all these apartments, and communicates with the Offices, consisting of a Butler's Pantry, Bedroom, and Plate Closet ; a Housekeeper's Room, with large Closets for Stores, Linen, China, &c. ; a Servants' Hall and Livery Room, Kitchen, &c. &c. The Chamber Story comprehends eight Bedchambers, and six Dressing Rooms, the Servants being placed over the Offices. The body of the house is raised on a terrace, in order to keep the rooms dry, and for the sake of elFect. From this Terrace handsome flights of steps conduct to the Flower Garden. The building was designed for Robert Gordon, Esq. M.P. LIST OF THE PLATES. No. 73. Principal Plan. 74. Chamber Plan. 75. Entrance Front. 76. South Front. 77. West Front. 78. Scenic View. 79. Ditto. i 37 OENAMENTAL VILLAS. DESIGN, No. XII. The Garden House was erected last year near the spot where the Design, No. XL is proposed to be built. It comprehends an Entrance Hall, 14 feet by 8, with a Sitting Room, 14 feet square, and two Bedchambers over, 15 by 14, a Servants' Room being attached. It is a stone building, and the work has been beautifully executed. It was erected for Robert Gordon, Esq. M. P. 39 ORNAMENTAL VILLAS. • DESIGN, No. XIII. It is worthy of remark, that from the reign of King Edward the 1st to the time of Henry the Vllth, although the art of brickmaking was well understood by the Romans, the practice was discontinued.* During this long period, timber, with lath and plaster, and thatch, constituted the materials for erecting the inferior class of buildings. Many of these still exist, curiously illustrative of the times in which they were built ; for even in these humble dwellings distinct periods of art may be traced by the discerning antiquary, and elegant specimens discovered, worthy of being rescued from the rude hand of the destroyer. Much fancy and taste was frequently dis- played in the mode of framing the timber work, in the ornamental barge-boards, the pendants, and finials ; of which an excellent example has been preserved by Mr. Britton in his Architectural Antiquities (vol. ii. p. 82). Many examples also remain in Exeter, Salisbury, Bristol, Chester, Hereford, Coventry, Ipswich, and Manchester. In Smith's Ancient Topography of London some interesting plates are given, showing the progress of this art, and particularly exhibiting the ornamental plaster work which prevailed during the reign of Charles the 1st. * See an Essay by Dean Littleton in ArchEeologia, vol. i. p. IW; and another by Mr. Essex, in vol. iv. 40 The House of which the Design No. XIII. is the subject consists of an Entrance Hall, 16 feet by 12 feet 6 inches ; a Library, 16 feet square ; a Drawing Room, 25 feet by 16 feet ; and an Eating Room, 22 feet by 16 feet, the dimensions being independent of the bay windows. The Offices comprehend a Butler's Pantry, House- keeper's Room, Servants' Hall, Store Room, and Kitchen, Scullery, Pantry, Larder, &c. The Chamber Story contains 5 Bedrooms, a Dressing Room, and Nursery, with 5 Servants' Rooms. The Plate No. 87 exhibits a View of the Lodge, and No. 88 a Design for the Stables. The building is now erecting near Beverley, in Yorkshire, for Smith Wyndham, Esq. LIST OF THE PLATES. No. 81. Ground Plan. 82. Chamber Plan. 83. South Elevation. 84. West Elevation. 85. Scenic View. 86. View of the Offices. 87. The Lodge.* 88. The Stables.f * This Plate forms Design XIV. ■f This Plate forms Design XV. I I I I 41 ORNAMENTAL VILLAS. DESIGN, No. XVL " L'Italie, cette belle patrie des arts, offre une si singuliere variete dans le caractere de son architecture, qu'a ne considerer que le style des edifices, on croirait placees a des distances immenses les unes des autres, des villes qui se touchent. C'est ainsi que Venise et Padoue, Turin et Genes, presentent un aspect si different." The " Architecture Toscane," pubhshed in Paris in 1806, fully justifies the author of the foregoing observation : — the Palazzo Pitti, erected in Florence by a citizen of that name, about the year 1435, was the work of Filippo Brunelleschi. The Strozzi Palace, in the same city, was erected about the year 1489, by Benedetto da Maiano, an architect and sculptor. The external appearance of these edifices indicates great strength, and they are peculiar for an originality of character arising from the disturbed period during which they were built. The form of the windows in the last- mentioned building, those in the Spannocchi Palace at Sienna, and more particularly in the Palazzo Publico of the latter place, exhibits the progress of art ; and they are interesting to the architect and antiquarian, inasmuch as they serve to explain the close connexion one style had with that of a former age. The remains of Dioclesian's Palace at Spalatro still exhibit evidences to the same effect ; and Dallaway, in his " Observations on English Architecture," observes, 42 that " the capitals of the external pilasters at the Duomo of Sienna, are composed chiefly of grotesque heads of beasts and monsters, instead of foliage." The Campanile is a feature peculiar to Tuscan Architecture, and its form establishes local recollections. In the works of the great Italian masters it is frequently introduced. The fa9ade of the Guadagni Palace is a curious example of Florentine Architecture. It is attributed to Brunelleschi ; and the open gallery at the top is peculiar to the country. The Design, No. 16, is formed upon an Italian model. It com- prehends upon the principal Story an Entrance Hall and Staircase, 20 feet square, approached by a Loggia on the North, and con- nected by a Corridor, 10 feet wide, with a Dining Room, 30 feet by 20, and a Breakfast Room, 20 feet by 19. The Drawing Room, open to the South, measures 30 feet by 20, and communicates with a Library, at the eastern extremity, of the same size, and by a Gallery at the west end, 30 feet by 12, with a Gentleman's Room, 23 feet by 15. The surface of the ground upon which the building is proposed to be situated, is much varied, and the pictorial effect consequently produced is favourable to the style of architecture. The building is placed on a terrace, enriched with handsome flights of steps, and surmounted by a ballustrade. The perspective views indicate the general effect of the composition. The Chamber Story contains five Principal Rooms, and three Dressing Rooms, with a similar number on the Story above. The 43 wing of Offices comprehends the usual Apartments, with a sufficient number of Servants' Rooms. LIST OF THE PLATES. No. 89. Principal Story. 90. Bedchamber Story. 91. The Entrance Front. 92. The South Front. 93. The East Front. 94. Scenic View. 95. Ditto. 96. The Corridor. Lord Farnborough has partially adopted this design at Bromley Hill. ARCHITECTURAI. WORKS AT REDUCED PRICES. \* The following popular Works on Cottage Architecture, by P.P. Robinson, Esq., F.S.A. and Vice-President of the Institute of British Architects, have hitherto met with a considerable and steady sale at the full prices. The only reason for the present reduction is the expectation of proportionably increasing the demand for them. ROBINSON'S RURAL ARCHITECTURE, BEING A SERIES OP mt^iqm for ({Ornamental <2rottage0t IN NINETY-SIX PLATES: Including Bailiff's, Gamekeeper's, Fishing, Swiss & Gate Cottages, Residences, Parsonages, Alms Houses, Farm Houses, Dairies, With Ground Plans, Elevations, and Admeasurements ; to ivhicli Ustimatcs are noiv for the first time added, FOURTH GREATLY IMPROVED EDITION. THE LANDSCAPES BEAUTIFULLY DRAWN ON STONE BY J. D. HARDING. THE ARCHITECTURAL DETAILS ENGRAVED ON COPPER. Elegantly printed in One Volume, royal 4to, the Plates on Tinted Paper. Published at £4 : 44- Now Reduced to £2 : 5s. Neatly half bound Morocco, uncut, with gill labels. ■ The high estimation in which this and the following elegant publications of the same author are held by the profession, and their utility to every person engaged in ornamenting and laying out estates, is now generally acknowledged. The great popularity of the Rural Architecture is indi- cated by its having already passed through three editions. In tliis, the fourth, the size is larger than heretofore, and the a])pearance every way more elegant, being printed in royal 4to., uniformly with Mr. Robinson's other works on Cottage Architecture. The plates, many of which are re- drawn, and all renewed or re-engraved, present a marked superiority. " Cottage Architecture has so material an eftect among the features of a country^ and occupies so conspicuous a place in the picture, that it is well to consider what forms are most pleasing and least intrusive. Mr. Robinson has taken somewhat of a new ground, or at least, he has confined his designs more particularly to the old English village style. His subjects are tndy fitting to the object proposed. They are, in the pure sense of the word, elucidations of Rural Architecture, in almost every practicable example, and efficient to all the purposes assigned to each. He has shewn that a scenic dwelling may be erected by a proper arrangement of the materials, at the same cost with the less attractive structure. We may add, that we should feel gratification in seeing many of his designs adopted, and if we were rich in territory, our villages and farms should certainly owe additional interest to his picturesque structures." ROBINSON'S DESIGNS FOR ORNAMENTAL VILLAS, ADAPTED TO THE WANTS OF INDIVIDUALS OF MODERATE INCOME, INTENDED TO ELUCIDATE THE POSSIBILITY OF PRODUCING ARCHITECTURAL EFFECTS, COMBINED WITH COMFORTABLE ARRANGEMENT, WITHOUT INCRE.\SED EXPENDITURE, IN A SERIES OF NINETY-SIX PLATES; Including Residences in the Swiss, Grecian, Palladian, modern Italian, Tuscan, Old English, Castellated, Anglo-Norman, Elizabethan, Ancient Manor-House, and other Styles ; also Stables, Garden-House, Water-Mill, &c. JVith Ground Plans, Elevations, and Admeasurements. THIRD GRE.iTLY IMPROVED EDITION. THE LANDSCAPES BEAUTIFULLY DRAWN ON STONE BY J. D. HARDING, AND OTHERS. Elegantly printed in One Volume, royal 4to, the Plates on Tinted Paper. Published at £4 : 4s. — Now Reduced to £2 : fls. Neatly half bound in Morocco, uncut, with yilt labels. ''• Mr. Robinson is so favourably known to his jirofession and to the public by his HuralArchitechire, that we are relieved from any occasion to speak of his general merits. In the present work he has added another claim to attention as a draughtsman of much fancy and taste. Most of these designs, he informs us, have been carried into ett'ect; and some of them, in our opinion, must be indeed ornamental to the scenes amidst which they are placed. Though England has long been superior in the neatness of its rural buildings to any other country with which we are acc|uainteil, there have lieretofore been comparatively very few cottages or villas which could be pointed out as possessing, in themselves, the qualities of pictures(|ucness or good feeling. They might [iroihuc such impressions by association, but this was merely accidental. Of late, liowever, a much finer taste has been cultivated, and in every quarter we see springing up architectural licauties, which not only agree with and improve surrounding nature, Init which please and gratify the mind by their own merits. Mr. Robinson lias con- tributed eminently to this improvement, and this, as well as his preceding publications, are therefore well entitled to praise and patronage." — Literary Gazette. ROBINSON'S DESIGNS FOR LODGES AND PARK ENTRANCES, IN VARIOUS STYLES, FROM THE HUMBLEST TO THE CASTELLATED. IN FORTY-EIGHT PLATES; BEAUTIFULLY DRAWN ON STONE BY J. D. HARDING, ALLOM, AND OTHERS. the ARCHITECTURAL DETAILS ENGRAVED ON COPPER. One Volume royal 4to. Published at £2 : 2s. — Now Reduced to £1 : lis. : 6rf. ROBINSON'S VILLAGE ARCHITECTURE, BEING A SERIES OP DESIGNS FOR THE PARSONAGE, THE INN, THE SCHOOL-HOUSE, ALMS HOUSES, MARKET HOUSE, SHAMBLES, BUTCHER'S-SHOl', WORKHOUSE, TOWN HALL, AND CHURCH. Illustrative of the Observations contained in the Essay on the Picturesque by Sir Uvcdalc Price. IN FORTY PLATES, BEAUTIFULLY DRAWN ON STONE. One Volume, royal 4to. Published at £1 : lis. : Gd. — Now Reduced to £1 : l.i. Neatly half bound Morocco, with gilt labels. " The most painter-like effects may be produced, even by a mixture of the simplest things, when properly placed and combined with others. In the pictures of many of the great Italian masters, mere sheds, with little alteration or disguise, are introduced among buildings of no mean charac- ter.'' — Price on the Picturesque. ROBINSON'S DESIGNS FOR FARM BUILDINGS, With a View to prove that the simplest Forms mail he rendered pleasint/ and ornamental l>i/ a proper Disposition of the rudest Materials. Including the Labourer's Cottage, Farm House, Barn, Granary, Cow House, Mill, Smithy, Weighing House, Dairy, Shed, Reservoir, in the Old English, Italian, and Swiss Styles. IN FIFTY-SIX PLATES, BEAUTIFULLY DRAWN ON STONE. One Volume, royal !!vo. Pul)iishcd at £2 : 2s. — Now Reduced to £1 : lis. : dd. Neatly half bound Morocco, with gilt labels. ROBINSON'S NEW VITRUVIUS BRITANNICUS, COMPREHENDING PLANS, ELEVATIONS, INTERIORS, AND SCENIC VIEWS OF THE MOST DISTINGUISHED MANSIONS IN THE UNITED KINGDOM, REMARKABLE FOR THEIR ARCHITECTURAL FEATURES OR INTERNAL MAGNIFICENCE, All Drawn from actual Admeasurement, and Engraved in the very highest style of Art by Le Keux, Shaw, Radclyffe, and other Artists of the first celebrity, with Historical and Descriptive Accounts. Printed in a most splendid manner on Imperial Drawing Paper. The Mansions published are : I. THE HISTORY OF WOBURN ABBEY, Illustrated by Nine highly-finished Copperplate Engravings, and Turn large Vignettes. Imperial Folio. Published at £3 : Zs. Reduced to £2 : 2s.; or Proof Impressions on India Paper, reduced to £4 : 4*. II. THE HISTORY OF HATFIELD HOUSE, Illustrated by Ten highly-finished Copperplate Engravings, and Two large Vignettes. Imperial Folio. Published at £S : 3s. Reduced to £2 : 2s.; or Proof Impressions on India Paper, reduced to £4 : 4s. III. THE HISTORY OF HARDWICKE HALL, Ulustrntedhy Ten highly-finished Copper-plate Engravings, and Two large Vignettes. Imperial Folio. Published at £3 : 3s. Reduced to £ 2 : 2.?.; or Proof Impressions on India Paper, reduced to £4 : 4s. SHAW'S LUTON CHAPEL. History and Antiquities of the Chapel at Luton Park, a Seat op the Most Nqble the Marquis of Bute. Bv H. Shaw. Illustrated in Twenty beautiful Plates, comprising Plans, Sections, Perspective Views, Ornaments, and Parts at large. Imperial Folio. Published at £3 : 3s. Reduced to £2 : 2s. in extra cloth boards; or Proof Impressions on India Paper, published at £5 : 5s. Reduced to £3 : 3s. disi)lays, will also be found highly useful to Carvers and Ornamental Artists This Chapel was built in the Reign of Henry VIII., and may be con- sidered the most splendid example of private Ecclesiastical Architecture extant. The whole Interior is one gorgeous display of carving in oak, show- ing considerable originality in many of its members, .md a variety in their details, which will prove :is interesting to the Anti(|uary as they are useful to the Architect. The profusion of beautiful ornaments which this volume of every description. " The luxuriantly carved Chapel at Luton Park is a most splendid and elaborately executed specimen oi the last stage of Tudor architecture. The beauty and fidelity of Mr. Shaw's elegant illustrations reflect great praise on his talents and perseverance." — Gentleman''s Magazine. NICHOLSON'S PRINCIPLES AND PRACTICE OF ARCHITECTURE CONTAINING The Fundamental Rules of the Art, in Geometry, Arithmetic, and Mensuration, with the Application of those Rules to Practice. the true method of drawing the ichnographv and orthography of objects; Including Treatises on Arches, Mouldings, Spiral Lines, and Foliage, 'and Geometrical Rules for Shadows : also the Five Orders of Architecture, with a great variety of beautiful examples selected from the Antique, and many useful and elegant Ornaments, with Rules for projecting them. Illustrated with 218 Copper Plates, engraved in a superior manner by W. Lowry. Fourth Edition, with Additions, revised and corrected by the Author. Three Vols. 8vo. Published at £3 ; 3s. in exti-a cloth boards.— Now Reduced to £1 : 16s. The Text Book of the Profession, the most useful Guide to the ARCHlTEf:TIIRAL STUDENT, AND THE BEST COMPENDIUM FOR THE AmATEUR. This work has always been so highly appreciated, and its reputation is now so well established, that quotations in its praise would seem superfluous, but it may be permitted to adduce the opinion recently given of it b3' an emi- nent Architect, who declared it to be "not only the most useful book op THE KIND EVER PUBLISHED, BUT ABSOLUTELY INDISPENSABLE TO THE STUDENT," and added, that " he always kept a copy onhisomi table, as well as another in the office for the use of his pupils." CARTER'S ANCIENT ARCHITECTURE OF ENGLAND, Including the Orders during the British, Roman, Saxon, and Norman Eras ; also under the Reigns of Henry III. and Edward III. ; THE WHOLE CHRONOLOGICALLY ARRANGED. Illustrated by 109 large Copper-plate Engravings, comprising upwards of Two Thousand Specimens, shewn in Plan, Elevation, Section, and Detail. New and much improved Edition, with Indexes, Alphabetical, Chronological, and Systematic, and Illustrative Notes, BY JOHN BRITTON AND E. W. BRAYLEY, ESCiRS. FF. SS. AA. Two Vols, in One, royal Folio, fine Impressions of the Plates. Published at £12 : 12s. — Now reduced to £5 : 5s. half-bound Morocco. This original and important work contains in 109 large plates, as many Architectural Examples, Ornaments, and Antiquities, as on tlie ordinary l)lan of publishing' would suffice for at least twenty folios : and although scarcely a vacant space is left, the subjects are so judiciously arranged as not to appear crowded. In the descriptive accounts, which are sufficiently ample, space is economized in a similar degree. The plates are all drawn and etched by Carter himself, from actual admeasurement, and many of them are now perhaps the only records of old English Edifices since destroyed or fallen into decay. " The late Mr. Carter," says Mr. Britton, " was the first to point out to the public the right way of delineating and representing the component and de- tached parts of the Old Buildings of England. His National Work on Ancient Architecture, occupied liim in drawing, etching, arranging, .-md publisliing, more than twenty years ; and he himself declared it to be the result of his studies through life. It is highly respectalile and valuable."— See BrittorCs Arch. Antiq. vol. v. pp. .58 and (iS. Among other very interesting illustrations contained in Carter's Work, Mr. Britton enumerates the following Mr. Pugin says of Carter — " The enthusiastic zeal of that able draughtsman and antiquary was undoubtedly effectual in checking the mutilation of aucient monuments—' We ne'er shall look upon his like To the Architect, the Antiquary, and the Artist, this celebrated work is alike indispensable; .'uid it should find a place in every good librarj', by the side of the Velnslci I\loinimcnta, ])ublished l)y the Society of Antiquaries, and Gouf/fi's Sepvlclirat Monuments, two National Works, to which Mr. Carter contributed largely. The former edition had become very scarce and expensive. The present, besides having the advantage of Messrs. Britton and Bray ley's illustrative Notes, is printed in a much handsomer manner, and the plates, which are .strongly etched, are really finer impressions, owing to the improved method of copper-plate printing. It is altogether one of the cheapest folios which has been offered to the public for many years. Stonehenfje, Roman Walls in Southampton, Northumber- lanil, Derbyshire, St. Alban's, Cirencester, & Leicester. R (Milan Temple at Bath. St. liotoljih's Priory. reterlioroufih, Gloucester, Durham, York, Canterbury, and otlier Catlietlrals. The Palaces of Lambeth, Woodstock, and Westminster. The Castles of Coningsborough, Farnliam, Durham, Kenilworth, Rochester, Hexiiam, Raby, Nottingham, Exeter, Pontefract, Newcastle, York, Carisbrooke, Warwick, Tonbridge, Goodrich, Abergavenny, Chep- stow, Caklecott, Tamworth, Ashby-de -la-Zouche, Crickhowel, Leeds, Slierburne, Hedingham, &c. The Abbeys, Churches, and Chapels of Salisbury, West- minster, Durham, Northampton, Dorchester, Little Majilestead, Glastonbury, St. Alban's, Waverley, Red- cliffe, St. Augustine, (at Canterbury), Waltham, Rom- sey, Dunstable, St. Stephen (Westminster), &c. The Halls and parts of Domestic Buildings at Coventry, Lambeth, Crosby, Farnham Palace, Peterborough, Durham, &c. Monuments, Crypts, Archways, Gates, Doors, Windows, Stained Glass, Altars, Fonts, B6 OF^ CENTER LIBRARY